Sharp, Cecil James
The English country dance
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THE
ENGLISH COUNTRY DANCE T
GRADED SERIES
CONTAINING THE DESCRIPTION OF THE DANCES
TOGETHER WITH THE TUNES
BY
CECIL J. SHARP
VOL. III.
WITHDRAWN
LONDON: NOVELLO AND COMPANY, LIMITED.
MADE IN ENGLAND.
THE
ENGLISH COUNTRY DANCE
GRADED SERIES
CONTAINING THE DESCRIPTION OF THE DANCES
TOGETHER WITH THE TUNES
CECIL J. SHARP.
VOL. III.
PRICE Two SHILLINGS AND Si
LONDON: NOVELLO AND COMPANY, LIMITED.
MADE IN ENGLAND
This series has been compiled at the request of the
English Folk Dance Society, and is intended to serve as an
introduction to the Country Dance. For a fuller and more
detailed description of the Country Dance and an account
of its history the dancer is referred to The Country Dance
Book, Parts 1 — 6 (Country Dance Tunes, Sets I.— XI.)»
which contains the notation of 177 dances.
M. KARPELES.
CONTENTS.
PAGE.
TECHNICAL TERMS AND SYMBOLS 5
MOVEMENTS AND FIGURES ... ... 6
GENERAL INSTRUCTIONS ... 9
NOTATION :—
13. BONNETS so BLUE n
14. THE MAID PEEPED OUT AT THE WINDOW ... ... 12
15. CHKISTCHUKCH BELLS ... ... ... ... ... ... 13
16. HEY, BOYS, UP GO WE ... ... 14
17. SELLENGER'S ROUND ... ... ... ... ... 15
18. THE MERRY, MERRY MILKMAIDS 16
MUSIC :-
13. BONNETS so BLUE ... 18
14. THE MAID PEEPED OUT AT THE WINDOW ... ... ... 19
15. CHRISTCHURCH BELLS 20
16. HEY, BOYS. UP GO WE ... ... ... ... ... ... 21
17. SELLENGER'S ROUND ... ... ... ... ... ... 22
18. THE MERRY, MERRY MILKMAIDS ... 23
TECHNICAL TERMS AND SYMBOLS.
INTRODUCTION.
TECHNICAL TERMS AND SYMBOLS.
O = man ; Q = woman.
THE diagram printed at the head of the notation of each dance shows the initial position of the dancers,
the left margin of the page representing the top of the room and the right margin the bottom, the upper
and lower sides representing the right and left walls of the room respectively. The top of the room is
called the Presence.
The General Set, or the Set, denotes the area enclosed by the dancers.
In dances, or figures, in which only two couples are engaged, the term contrary is used to denote
the man or woman other than the partner.
To pass by the right is to pass right shoulder to right shoulder ; by the left, left shoulder to left
shoulder.
To move up or down is to move toward the top or the bottom of the room.
To move is to dance forwards.
To fall back is to dance backwards.
When a man leads his partner he takes her right hand with his right hand if she is on his right, and
her left hand with his left hand if she is on his left.
To cast off is to turn outward and dance outside the General Set.
To cast up or cast down is to turn outward (unless already so facing) and dance up or down outside
the General Set.
The term clockwise (cl.) or counter-clockwise (c.cl.) are self-explanatory, and refer to the direction
of circular movements.
To make a half-turn is to turn through half a circle so as to face in an opposite direction ; to make
a whole-turn is to make a complete revolution.
A Progressive dance consists of the repetition for an indefinite number of times of a series of
movements, called the Complete Figure, each repetition being performed by the dancers in changed
positions. The performance of each Complete Figure is called a Round.
A Progressive movement or figure is one, the performance of which leaves the dancers relatively in
different positions.
A neutral dancer is one who, in a progressive dance, is not engaged in the performance of a Round.
PROGRESSIVE LONGWAYS DANCES.
IN the whole-set dance the progression is effected by the transference in every Round of the top couple from
the top to the bottom of the General Set, the rest of the couples moving up one place.
The duple minor-set dance is one in which the Complete Figure in each Round is performed
simultaneously bv subsidiary groups (known as minor-sets) of two adjacent couples.
6 THE COUNTRY DANCE HOOK.
During1 the course of each Hound the upper and lower couples of each minor-set change places,
the former moving: down one place, the latter up. This will necessitate a rearrangement of the
minor-sets in the following Hound, and this is effected by each upper couple making' a new minor-M-t
with the couple immediately below, or — to put it in another way — each lower couple making a new
minor-set by taking in the couple immediately aliove. In this way every couple, as the dance proceeds,
will move steadily from one end of the Set to the other, the upper couples down, the lower ones up.
Every couple upon reaching either end of the Set must remain neutral during the next round, after
which it it will again enter the dance and progress in the direction opposite to that in which it had
previously been moving (upper couples becoming lower couples, and vice versa).
STEPS
THE running-step (r.s.) is a quiet, easy spring executed with a flexible ankle on the ball of the
foot. The legs should be straight ; the knees loose, but not bent ; and the feet should take the ground
directly under the body.
The walking -step (w.s.) is a modified form of the running-step in which the spring, though
present, is scarcely noticeable.
The skipping-step (sk.s.) is the usual step-and-hop on alternate feet. The hop must be a small one.
The slipping-step (sl.s.) is a sideways step, the feet moving scissor-wise with the same rhythm
and spring as in the skipping-step.
The polka-step is three steps on alternate feet and a hop.
There are, normally, two steps to each bar, falling, respectively, on the first and middle teats,
whether the time be simple or compound.
MOVEMENTS AND FIGURES
THE DOUBLE.
THE double is three steps forward or backward, followed by a closing of the feet — four steps in all.
THE TURN.
Two dancers face each other, join both hands with arms outstretched, swing round once clock-
wise (r.s. or sk.s.), separate and return to places. The dancers should face each other throughout the
movement, and lean back slightly so as mutually to give and receive support.
THE SWING.
This is the same as the preceding movement except that the dancers swing round more than once
before separating, and, on occasion, move from place to place.
THE HONOUK.
This is a formal obeisance made by partners to one another at the conclusion, and sometimes in the
course, of the dance. The man bows, head erect, making a slight forward inclination of the body from
the hips ; the woman, placing one foot behind the other, makes a quick downward and upward movement
by bending and straightening the knees.
THE SINGLE.
On the first beat of the bar a spring is made, forwards, or sideways, on to one foot, say the right ;
the left foot is then brought up beside it, the weight wholly or in part momentarily supported upon it,
and, on the second beat of the bar, transferred to the right foot in position.
THE SET.
This is a movement of courtesy, addressed by one dancer to another, or more frequently by two
dancers to each other simultaneously. It consists of a single to the right sideways, followed by a single to
the left back to position (two bars).
MOVEMENTS AND FIGURES.
SET-AND-HONOUR.
This consists of a single to the right and honour, followed by a single to the left and honour
(four bars).
THE SIDE.
This, likewise, is a movement of courtesy. Two dancers face, move forward a double (r.s.), pass by
the left, turn counter-clockwise on the third step and face one another as they bring their feet together
(two bars). This movement is then repeated to places, the dancers returning along the same tracks,
i.e., passing by the right, turning clockwise on the third step and facing one another as they bring their
feet together.
ARM WITH THE RIGHT (OB LEFT).
Tli is, again, is a movement of courtesy.
Two dancers face, meet, link right (or left) arms, swing round a complete circle (r.s.) clockwise (or
counter-clockwise), unlink arms and fall back to places (four bars). The arms should be linked at the elbows
and, as in the Turn, the dancers must feel each other's weight.
TURN SINGLE.
The dancer makes a whole turn on his own axis, clockwise, in four steps, beginning with the right
foot. The performer should be careful to make a slight spring from foot to foot at each step, and to regulate
his movement so that all four steps are needed to complete the revolution (two bars).
RIGHT (OR LEFT) HANDS-ACROSS.
This is performed by four dancers standing in a square. Each dancer joins right (or left) hands with
the dancer diagonally opposite. Holding their hands close together, chin-high, all dance round clockwise
(or counter-clockwise).
HANDS-THREE, HANDS-FOUR, ETC.
Three or more dancers, as directed, form a ring, extend arms, join hands a little above waist-level, and
diince round. In the absence of specific insti-uctions to the contrary it is to be understood that one complete
circuit is to be danced, clockwise, the performers facing centre.
FIRST COUPLE LEADS DOWN THE MIDDLE AND BACK AGAIN AND CASTS ONE.
First man, taking his partner by the right hand with his own right hand, leads her down the middle
(w.s.) ; he then raises his partner's right hand over her head, and they both make a half-turn counter-
clockwise and face up (four bars). They skip back to places with crossed hands and then, releasing hands,
cast off round second couple into second couple's place, second couple moving up into first couple's place
(four bars).
HALF-POUSSETTE.
This is performed by two adjacent couples.
Each man faces his partner and takes her by both hands. The arms must be held out straight, and
very nearly shoulder high.
First man, pushing his partner before him, moves forward four steps and then falls back four steps
into the second couple's place, pulling his partner after him. Simultaneously, second man, pulling his
partner with him, falls back four steps and then moves forward four steps into the first couple's place
(four bars).
WHOLE-POUSSETTE.
When the half-poussette is followed by a complementary repetition of the same movement, each
couple describing a complete circle or ellipse, the figure is called the whole-poussette.
THK COUNTRY DANCE HOOK.
THE STRAIGHT HEY FOR THREE.
No. 1 faces down, Nos. 2 and 3 up.
All simultaneously (Icscrilx! the figure eight, as shown in the above diagram, and return to
passing along the unbroken liiu> as they move down, and along the dotted line as they move up. At the
beginning of the movement, therefore, No. 1 will dance along a b, No. 2 along d c, and No. 3 along g e,
i.e., Nos. 1 and 2 will pass by the right, Nos. 1 and 3 by the left.
In onler that the dancers may not obstruct one another the two lobes of the figure should be made as
broad as time and space will permit.
THE STRAIGHT HEY FOR POUR (OR MORE) DANCERS.
...-«*
Odd numbers face down, even numbers up.
All simultaneously dance along the track shown in the diagram and return to places, moving along
the unbroken line when going down, and along the dotted line when going up.
It will thus be seen : —
(1) That the dancers begin the movement by passing by the right.
(2) That they reverse their direction at both ends by turning round to the right, i.e., clockwise,
(3) That the regular sequence of right and left passes is broken by the omission of a left pass
during the execution of the turn at either end.
THE CIRCULAR-HEY.
This movement is the same as the Grand Chain in the Lancers, except that the dancers do not take
hands as they pass each other alternately by the right and left.
THE COUNTRY DANCE BOOK.
GENERAL INSTRUCTIONS.
MOTION IN THE DANCE.
THE Country Dance is pre-eminently a figure dance, depending- in the main for its expressiveness upon the
weaving1 of patterned, concerted evolutions rather than upon intricate steps or elaborate body-movements.
An analysis of the way in which the traditional folk-dancer moves shows that it is based upon two main
principles : —
(1) The weight of the body in motion must always be supported wholly on one foot or the other, and
never carried on both feet at the same moment. From this it follows that the transition from
step to step, i.e., the transference of the weight from one foot to the other, must always be
effected by spring.
(2) The motive force, although derived in part from this foot-spring, is chiefly due to the action of
gravity, brought into play by the inclination of the body from the vertical.
The function of the legs is to support the body rather than to help to move it forward, the
actual motion being set up, regulated, and directed by the sway and balance of the body, as in
skating. The body cannot, however, be used in this way, that is to set up and regulate
motion, unless it is carried essentially in line from head to foot, without bend at the neck or
at the waist, or sag at the knees.
THE TECHNIQUE OF FIGURE-DANCING.
The first requisite of the figure dancer is the capacity to move hither and thither, freely and easily,
with complete control over direction and speed. Having attained this power he must then learn (1) to
time his movements accurately ; (2) to phrase them in accordance with the music ; (3) to blend them
into one continuous movement without halts or hesitations ; and (4) to execute them in concert with
his fellow-dancers.
Timing. — As the movements and the figures of the dance are but the translation, in terms of bodily
action, of the music which accompanies them, the dancer when learning a dance should first of all listen
carefully to the tune, and, if possible, memorise it. In particular he should note the number and relative
lengths of the several phrases, and calculate the number of steps that can be danced to each of them.
Phrasing. — It is just as necessary for the dancer to phrase his steps and movements as it is for the
musician to phrase his notes and strains, or for the writer to punctuate his sentences. The purpose in
each case is the same — to define and make intelligible what would otherwise be ambiguous or meaningless.
A series of equally accented dance-steps, musical sounds, or verbal syllables, conveys no meaning until by
the periodic recurrence of stronger accents the steps, sounds, or words, are separated into groups,
co-ordinated, and some sort of relationship established between them.
Technically, the dancer phrases his movements by gradating the accents which he imparts to his
steps, usually giving the strongest accent to the first step of a group and the weakest to the last. The
strength of the step-accent depends partly upon foot-spring, but mainly upon body-balance, that is to say, less
upon the strength of the spring forward than upon the momentum generated and controlled by the inclination
of the body in the direction of motion. Before beginning a movement from rest, therefore, the dancer should
throw his weight on to one foot and adjust the inclination of his body so that the first step of his phrase may
be made with the requisite emphasis.
The dancer must never make any movement in the dance, however insignificant, that is not phrased,
i.e., executed rhythmically in accord with the music. This injunction must be held to apply as much to arm-
movements as to steps. For instance, in giving or taking a hand, he should begin the movement in plenty
of time— two or three beats beforehand — and raise and move the arm in rhythm with the music. The arms,
when not actively employed, should hang loosely by the sides and be allowed to swing or move as they will.
ft-Vol. 3.
10 THK COUNTRY DANCE BOOK.
Continuify. — The directions given in the notation are divided into Parts, figures, &c., only for the
sake of clearness of description. The aim of the dancer should be to conceal, not to call attention to, these
divisions. The dance should be regarded as one continuous movement as complete and organic in
structure as the movements of a symphony.
Concerted Movement. — The performer in a concerted dance has not only to consider his own
individual movements, but to relate them to those of his companions in the dance. The expert figure-
dancer is probably far more conscious of the movements of his fellow-dancers than of his own ; indeed, his
pleasure, as well as theirs, depends very largely upon the completeness with which he effaces his own
]>ersonality and loses himself in the dance.
STYLE.
The foregoing explanations will, it is hoped, enable the reader to interpret the figures described in
the notations that are presently to follow. The dancer should, however, be reminded that technical
proficiency has no value except as an aid to artistic expression, and indeed, if it be not so used, the dance
will never rise above the level of a physical exercise.
Although in the nature of things it is impossible to instruct the dancer how he may impart aesthetic
significance to his physical movements, there are certain general considerations to which his attention
may profitably be directed.
The folk-dance, owing to its corporate, unconscious origin, is essentially an impersonal dance, a
unique instrument for the expression of those ideas and emotions that are held and felt collectively, but
peculiarly unfitted for the exploitation of personal idiosyncrasies. The folk-dance, therefore, is
emphatically not the place for the display of those self-conscious airs and graces, fanciful posings and so
forth, that play so large a part in dances of a more conventional order. The dancer must put these aside
and seek elsewhere for material upon which to mould his style, and this he will find in the character of the
dance itself.
The dominant characteristic of the Country Dance is its " gay simplicity." Every movement should,
therefore, be executed quietly, easily, and with economy of motion, and in a simple, unaffected manner.
The Country Dance is, moreover, a mannered dance, gentle and gracious, formal in a simple,
straightforward way, but above all gay and sociable. The spirit of merriment, however, although never
wholly absent from the dance, is not always equally obvious.
The clue to the emotional variations of the dance will be found in the accompanying music. The
dance is but the interpretation, or translation, in terms of bodily action, of the music upon which it is
woven, just as the melody of the song is primarily the expression of the text. The style of the dance is,
therefore, determined by the character of its tune.
It should be added that any spectacular qualities that the Country Dance may possess are fortuitous,
or, rather, the inevitable outcome of the perfect fashioning of means to an end. Its beauty, being implicit,
needs no artificial embellishment. An elaborate theatrical setting would be as irrelevant and
impertinent as for the dancers to deck themselves in rich and fanciful costumes. All that the dancers
need is plenty of space, an even, non-slippery floor, and dresses which will allow to the body and limbs
complete freedom of action.
NOTATION.
11
NOTATION.
13. BONNETS SO BLUE.
Longways for as many as will.
MUSIC.
MOVEMENTS.
B
(DUPLE MINOR-SET.)
First and second couples right-hands-across (sk.s.).
5-8 First and second couples left-hands-across (sk.s.).
First couple leads down the middle and back again and casts one (progressive).
First and second couples swing (sk.s.).
12
THE COUNTRY DANCE BOOK.
14. THE MAID PEEPED OUT AT THE WINDOW,
OB
THE FRIAR IN THE WELL.
Longways for as many as will.*
m
o
©
© © • • • •
MUSIC.
A
Bl
B2
A
Bl
B2
A
Bl
B2
1-4
5-8
1-4
5-8
1-4
5-8
1-4
5-8
1-2
3-4
5-8
1-2
3-4
5-8
MOTF.MKNTS.
FIKST PART.
Partners lead up a double and fall back a double to places.
That again.
First man, followed by the rest of the men, easts off to the bottom of the Set ; while
first woman, followed by the rest of the women, does the same (sk.s.).
Partners set and turn single.
As in Bl, casting up to places.
Partners set and turn single.
SECOND PART.
Partners side.
That again.
All face up. The men go four slips to their right on to the women's side, while the
women go four slips to their left on to the men's side, the men passing in front
of their partners.
All move up a double.
Partners set and turn single.
All face down. The men go four slips to their right on to their own side, while the
women go four slips to their left on to their own side, the women passing in front
of their partners.
All. move down a double.
Partners set and turn single.
1-4
5-8
1-4
5-8
1-4
5-8
THIRD PART.
Partners arm with the right.
Partners arm with the left.
All couples half-poussette, odd couples changing places with even couples, the former
going first toward the right wall, the latter toward the left wall (r.s.).
All set and turn single.
As in Bl to places, odd couples going first toward left wall, even couples toward right
wall.
Partners set and turn single.
* In practice it will be found advisable to limit the number of couples to four.
NOTATION.
13
15. CHRISTCHURCH BELLS.
Longways for as many as will.
MUSIC.
MOVEMENTS.
(DUPLE MINOK-SET.)
1-8 First man turns second woman with the right hand and then turns his partner with
the left, falling back into his place (r.s.).
B 1-8 Second man turns first woman with the left hand and then turns his partner with the
right, falling back into his place (r.s.).
1-4 First and second couples hands-four (r.s.).
Bar 5 On the first beat of the bar, all clap hands ; on the middle beat of the bar, partners
strike right hands together.
Bar 6 As in previous bar, except that, on the middle beat of the bar, partners strike left
hands together.
7-8 First man and first woman cast down into second place ; while second couple leads up
into first place (progressive) (r.s.).
THE COUNTRY DANCE BOOK.
16. HEY, BOYS, UP GO WE.
For Four.
MI'SIC.
A
Bl
B2
A
Bl
B2
Bl
B2
1-4
5-8
1-4
5-8
1-4
5-8
1-4
5-8
1-4
5-8
1-4
5-8
1-4
5-8
1-4
5-8
1-4
5-8
MOVEMENTS.
FIRST PART.
Couples move forward a double and fall back a double to places (r.s.).
That again.
Contraries, facing outwards (i.e., keeping their backs towards each other), move
round each other in a circle, clockwise (r.s.).
Contraries face each other and move round each other in a circle, counter-clock-
wise (r.s.).
Partners face outwards and move round each other in a circle, clockwise (r.s.).
Partners face each other and move round in a circle counter-clockwise (r.s.).
SECOND PART.
Partners side (r.s.).
First man and second woman side ; while second man and first woman do the same.
Two men change places, while two women take two steps back and then do the
same (r.s.).
Hands-four once round (r.s.).
Two women change places, while two men take two steps back and then do the
same (r.s.).
Hands-four once round to places (r.s.).
THIRD PART.
Partners arm with the right.
First man and second woman arm with the left ; while second man and first woman
do the same.
First man and second woman, and second man and first woman half-poussette (r.s.) and
change- places, first man going first towards right wall, and second man towards
left wall (r.s.).
First man turns outward to his right and, followed by his partner, casts off and
returns up the middle to the same place ; while second man casts off to his right
and, followed by his partner, does the same (r.s.).
Same as Bl to places (r.s.).
Same as Bl, each man casting off to his left and, followed by his partner, returning
up the middle to his place (r.s.).
NOTATION.
15
17. SELLENGER'S ROUND; OR, THE BEGINNING OF THE WORLD.
Round for as many as will.
MUSIC.
1-4
5-8
Bl ami B2
1-4
5-8
Bl ami B2
1-4
5-8
Bl and B2
MOVEMENTS.
FIRST PART.
A Hands-all, eight slips clockwise and eight slips counter-clockwise to places.
Bl 1-2 All move forward two singles toward the centre, beginning the first with the right
foot and the second with the left.
3-4 All fall back a double to places (r.s.).
5-8 Partners set and turn single.
B2 1-8 All that again.
SECOND PART.
All take hands, move forward a double to the centre, and fall back a double to places.
That again.
As in First Part.
Partners side.
That again.
As in First Part.
THIRD PART.
FOURTH PART.
Partners arm with the right.
Partners arm with the left. ^ . .
As in First Part.
N.B. — It is customary to conclude the dance with a repetition of the first part.
16
THE COUNTRY DANCE BOOK.
18. THE MERRY, MERRY MILKMAIDS.
Longways for eight.
MUSIC.
MOVEMENTS.
FIRST PART
Al 1-4 All lead up a double and fall back a double to places (r.s.).
5-8 Partners set and turn single.
A2 1-8 All that again.
Bl 1-2 First man and first woman take two steps back, move forward and meet; while third
man and third woman do the same (r.s.).
3-4 First and second couples change places, first couple slipping down between second man
and second woman ; while third and fourth couples change places in like manner.
5-8 All fall back a double and move forward a double to places (r.s.).
9-12 First and second couples right-hands-across ; while third and fourth couples do
the same (r.s.).
B2 1-2 Second man and second woman take two steps back and meet; while fourth man
and fourth woman do the same (r.s.).
3-4 First and second couples change places, second couple slipping down between first man
and first woman ; while third and fourth couples change places in like manner.
5-12 Same as in Bl.
SECOND PART.
Al 1-4 Partners side (r.s.).
5-8 Partners set and turn single.
A2 1-8 All that again.
Bl 1-4 First man, followed by second, third, and fourth men, turns out to his left, and
casts down to the lower end (sk.s.).
5-8 First woman, followed by second, third, and fourth women, turns out to her right,
and casts down to lower end (sk.s.).
9-12 Partners set and turn single.
B2 1-4 First man turns out to his right and, followed by the rest of the men, casts up
to the top (sk.s.).
5-8 First woman turns out to her left and, followed by the rest of the women, casts
up to the top (sk.s.).
9-12 Partners set and turn single.
THIRD PART.
Al 1-4 Partners arm with the right.
5-8 Partners set and turn single.
i2 1-4 Partners arm with the left.
5-8 Partners set and turn single.
Bl 1-4 Men fall back a double and move forward a double to places (r.s.).
5-12 Men the Hey-for-four, first and second men facing each other, third and fourth men
the same (sk.s.).
B2 1-12 Women do the same as the men.
MUSIC
NOTES FOB MUSICIAN.
THE dances to which the tunes in this volume belong are divided into two or more parts of equal length.
The music in the text is in each case that which is required for the accompaniment of a single part.
In non- progressive dances, therefore, the music with the repeats as printed, must be played as many
times as there are parts. When, however, a part is progressive, the music to that part must be repeated
as often as the dancers direct.
For the guidance of the musician the number and character (i.e.,, progressive or otherwise) of the
parts, into which each dance is divided, are given in the score.
Metronome figures are given only in those cases where there is traditional authority upon which to
compute them. The tempo must always depend upon the character of the tune and of the dance and, to a
certain extent, upon the disposition of the dancers and the accompanist. M.M. e? or 4. = 116—138,
being based upon the custom and practice of recent years, may, perhaps, be given as a general guide.
The edition and date at the head of the tune refer to the collections of John Playford entitled
"The English Dancing Master."
18
Longways for as many as will;
progressive dance in one part .
A
13. BONNETS SO BLUB.
Collected and arranged by
Cecil J. Sharp.
1
Fine.
Copyright, 1909, by Novello $ Company, Limited.
14. THE HHID PEEPED OUT AT THE WINDOW
<^-A-XJL.XL.
**~*r^
19
or
THE FRIAR IN THE WELL.
Longways for as many as will; In three parts.
(The English Dancing Master, 4& Ed . 1670.) *
Arranged by Cecil J. Sharp.
t
*=*=*
6
Bi
8
*
B2
I
r^r
^fe
t
srp^f ^
r
f1
8
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M
£
*The third part of the tune, which is not in the earlier Editions, has been omitted.
Copyright, 1922, by Novella 9 Company, Limited.
20
15.CHRISTCHURCH BEI/LS,
Longways for as many as will ;
progress I ve dance in one part .
(The English Dancing Master, 7** Ed. 1686.)
Arranged by Cecil J. Sharp .
Jf V J J' ' '
J ., 1 — tf —
— i — J 1 1 —
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Zt 5 • • •
V V
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Copyright, 1916, by Novella * Company, Limited.
16- H2Y, BOYS, UP
21
Arranged by Cecil J. Sharp.
by Xovello *
PO! l ro1" n- rr«'
22
17. SBLLEKGBRS ROUND
or
THE BEGINNING OF THE WORLD.
Round for as many as will; In four parts.
(The English Dancing Matter, 4*^ Ed. 1670.)
Arranged by Cecil J. Sharp.
The above tune is not that given by Playford but is the version used by Byrd, omitting his repetition of the last four bars.
Copyright, 1918, by Novella * Company, Limited.
18. THE MERITA MERRY MILKMAIDS.
23
Longways for Eight; in three parts.
(The English Dancing Master, 2Sd Ed. 1652.)
Arranged by Cecil J. Sharp.
Copyright, t9ts, by Novella $ Company, Limited
Copyright renewed 0)40
The Englis]
Graded Series
CONTAINING THE DESCRIPTION OF TUB DANCES TOGETHER WITH THE TONES
By CECIL J. SHARP
Brighton Camp
nede
t Ribbon Dance
tGoddesses
t Bonnets so Blue
fThe Maid Peeped Out at
the Window
Sage Leaf
Epping Forest
Pop Goes the Weasel
The Fine Companion
The 29th of May
Scotch Cap
Jack's Maggot
The Beggar Boy
The Geud Man of Ballangigh
Shepherd's Holiday
t'The Butterfly (Elementary)
Three Meet (Elementary)
Picking Up Sticks
,te to tie Wedding
V01 -(Elementary)
*^?ncV's fancy t'Gathering Peascods
The ]i t'Kufty Tufty
VOLUME II.— (Elementary)
•The Mary and Dorothy
|«If All the World Were
Pa;
VOLUME III.-(ElemenUry)
Christchurch Bells ilenger's Round
'Hey, Boys, Up Go We The Merry, Merry Milk-
maids
VOLl'ME IV.— (Elementary to Intermediate)
+ .™Ud£"?\e, , Hit and Miss
"The Old Mole Newcastle
VOLUME V.— (Intermediate)
The Triumph t Broom, the Bonny Bonny
Oaken Leaves Apley House [Broom
VOLUME VI.— (Intermediate— Advanced)
Indian Queen Maids' Morris
I The Boatman
VOLUME VII.— (Advanced)
•fLilli Burlero
t Nonesuch
VOLUME VIII.— (Advanced)
Old Noll's Jig
jThe Maid in the Moon
VOLUME /*.— (SUPPLEMENT I.)
Edited by MAUD KARPELES
Mage on a Cree (Intermediate) Grimstock (Advanced)
Speed the Plough Oranges and Lemons
(Intermediate) (Advanced)
Parson's Farewell
fArgeers
Dick's Maggot
The Phoenix
Mr. Beveridge's Maggot
Price TWO SHILLINGS AND SIXPENCE each volume
unesarrangedfor Brass and Military Band. f Tunes arranged for Bamboo Pipes.
'ance . eoes
ARRANGED FOR BRASS OR MILITARY BAND
By GORDON JACOB
In Three Set* : Price 4*. 6d. each.
SET 1
The Butterfly
Galopede
Haste to the Wedding
Nancy's Fancy
SET 2
Gathering Peascods
Rufty Tufty
Hey Boys
The Black Nag
Separate Part*, 3d. each
SET 3
If All the World Were Paper
The Old Mole
Sellenger's Round
The Mary and Dorothy
Complete Catalogue of Country, Morris and Sword Dance Books may be had on application.
LONDON: NOVELLO AND COMPANY, LIMITED
MSA
PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET
UNIVERSITY OF TORONTO LIBRARY
GV
1646
E6S45
v.3
Sharp, Cecil James
The English country dance
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